Word: scherzo
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
After rather thunderous ovations, the trio performed for two encores, the concert’s highlights. Dismissing Schubert’s sweetness, Pressler called the audience “back to earth” by playing the frenzied scherzo of Shostakovich’s second piano trio. After this outburst of energy, Pressler then returned listeners “back to heaven” with the slow movement of Beethoven’s Trio No. 11. Arguing for Beethoven’s status as a romantic, the trio played with some of the maudlin expressivity that the previous performances...
...opening whispers of strings with practice mutes attached, I was immediately drawn into this detailed and contrapuntally sophisticated work. Transforming a work for string quartet into string orchestra is no easy task, but Corigliano solved the problems through effective orchestration techniques. This is especially true in the second movement scherzo, which features tutti chords interrupted by outbursts from a string quartet within the orchestra. Corigliano takes advantage of full string sections to provide a more dense and elaborate solution to aleatoric passages. Having double basses with low C-string extensions also adds a richer, fuller sound to the piece...
...somewhat of a disappointment. The Three Interludes (1996) of Richard Wilson '63, served as a substitute for a Milton Babbitt piece that was to have been premiered at the concert (apparently Babbitt could not finish the piece in time). The interludes comprise two moderate-tempo movements and a scherzo-like middle movement. The piano accompaniment is harmonically inventive, but the violin line sometimes suffers from a lack of development. Still, Schulte and Winn played the piece with accuracy and enthusiasm...
...Castelli's new album was recorded in Munich last year on a grant from an award that she received for playing, among other pieces, the Wieniawski Scherzo-Tarantelle that appears on the recording. The entire process took two days: one to record and one to edit the tracks...
...flat minor Scherzo, the piece used by that eerie little Russian girl to intimidate Richard Dreyfus in "The Competition," came off worse. Its main weakness was lack of dynamic range--or rather, lack of sensitive dynamic range, as one tended to be awed by Zimerman's ferocious key depth without forgetting the harsh sounds it sometimes produced. A stricter observance of tempi would also have been in order; this was Chopin, not Debussy. In any case the risks he took at high speeds were admirable, and his confident, blind leaps across three octaves are a reproach to showier pianists...